Oscar Wilde in America

In his review of Roy Morris Jr.’s Declaring His Genius: Oscar Wilde in North America, Justin Beplate discusses Oscar Wilde’s trip to America, and the lasting effect that it had on his writing and personality. Here is an excerpt:

Wilde’s reception in America was uneven. If some were bemused by the colourful paraphernalia of aestheticism, others bristled at the suggestion that this export from Britain had anything to teach them about beauty and taste. Wilde was, by his own admission, a lame public speaker – but he was a born self-promoter. At a time when celebrity interviews were just beginning to take off in the US, Morris argues that ‘Wilde pioneered the way in which modern celebrities are created, cultivated, and commodified’. In his dealings with the press Wilde knew how to play the game, dispensing quotable copy and maintaining a genial air in the face of tiresomely repetitive questions. The same equanimity was extended to his hecklers, and many of those who came to jeer the ‘too too utterly utter’ spectacle of an overwrought fop in satin knee breeches with crushed velvet coat and green cravat found themselves disarmed by Wilde’s unflappable demeanour and genial good humour. It was less an ability to laugh at himself – his commitment to aestheticism was too sincere – than a willingness to deflect ridicule with humour, honed as the occasion required.

If America did not always know what to make of Wilde, the country was in many ways the making of him as an artist. He returned to England richer in pocket and, more importantly, in experience. The tour marked a divide between what Wilde himself designated ‘the Oscar of the first period’ (‘the gentleman who wore long hair and carried a sunflower down Piccadilly’) and what was to come. In the following decade Wilde would assiduously cultivate the Oscar of the second period, publishing the stories and plays that made him famous. His fall, when it came, was colossal. When The Importance of Being Earnest opened to wild acclaim on 14 February 1895, its author was the toast of London society. Less than two months later, having lost a disastrous libel claim against the 9th Marquess of Queensberry for imputations of homosexual conduct, Wilde was arrested on charges of gross indecency and later sentenced to two years’ hard labour. The physical and moral devastation of the trial and its fallout shattered him. Three years after his release, Wilde died as an impoverished and ignominious exile in Paris.

For the full review, visit bit.ly/ZQDWd6.

A Review of Kurt Vonnegut’s Letters

The Core presents a review of Kurt Vonnegut's Letters, by Keith Miller. Vonnegut is not a writer directly studied in Core classes, however, his influence on the literary world is worth examining. Here is an excerpt:

Most of Vonnegut’s early writing is – despite his protestations about “genre-ism” – fairly easy to ghettoise as science fiction, though he is manifestly a “hard” SF writer (space ships, tentacles) who would like to be a “soft” one, exploring the Philip K Dick stuff about memory and identity. One of his richest themes – very notably in Slaughterhouse 5, which contains elements of SF, as well as memoir, realism and several other notes – is the conceit that we’re all somehow adrift, rogue cosmonauts in our own lives, an idea that is by no means confined to genre fiction (it is present in Proust, though clad there in white tie rather than a space suit).
...
The writ of this collection of letters runs from about 1950 until 2007, the year of Vonnegut’s death. It is not exactly packed with revelations. We don’t write to those we see every day; anthologies such as these are documents of absence, plaster casts of empty rooms – involuted autobiographies. It’s only when Kurt, teaching in Iowa, steps up his correspondence with Jane, his first wife, that we sense their relationship is amiss – sure enough, he soon notifies a friend that “something telepathic has busted between us”.

...
It is for their literary rather than their documentary value that these letters commend themselves, in the end. They have a directness and a consistency, a scruffy but ensnaring humanity, that I’ve never quite been able to find in Vonnegut’s fiction, either two decades ago as a refusenaut and psychonik, or over the past fortnight, researching this piece. Kurt seems by turns kind, engaged, imaginative, witty, self-deprecating (“I write with a big black crayon… grasped in a grubby, kindergarten fist,”) and – on various fronts – courageous.

For the full review, visit bit.ly/101d1Wt.

Salvador Dali: Dante’s Paradiso

Relating to CC102′s study of Dante’s Divine Comedy are illustrations made by Salvador Dali for Paradiso. Here is a sample:



For the full set of images, visit bit.ly/16iqVvI.

To view Dali's illustrations for Inferno, visit bit.ly/10jHp1E, and for Purgatorio, visit bit.ly/17H3fQT.

Writers’ Reasons For Reading

Here is where these great writers get their zest for reading:

  • "Every man who knows how to read has it in his power to magnify himself, to multiply the ways in which he exists, to make his life full, significant, and interesting."
    Aldous Huxley
  • "Reading a book is like re-writing it for yourself. You bring to a novel, anything you read, all your experience of the world. You bring your history and you read it in your own terms."
    Angela Carter
  • "To acquire the habit of reading is to construct for yourself a refuge from almost all the miseries of life."
    W Somerset Maugham
  • "I think we ought to read only the kind of books that wound or stab us. If the book we're reading doesn't wake us up with a blow to the head, what are we reading for? So that it will make us happy, as you write? Good Lord, we would be happy precisely if we had no books, and the kind of books that make us happy are the kind we could write ourselves if we had to. But we need books that affect us like a disaster, that grieve us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone, like a suicide. A book must be the axe for the frozen sea within us. That is my belief."
    Franz Kafka

For the full set of such quotes, visit bit.ly/10d7eNs.

Core Banquet: Invitations!

To all Core scholars:

You are invited to next week's Core Banquet; we're very much looking forward to the occasion. We would like to invite you to submit your shout-outs and photos, so that they can be inserted into the slide show that will be playing throughout the evening. Any photos (of Core friends, classes, activities, personalities, etc.) or quotes (addressed to faculty or friends, of just favorite snippets from Core readings) can be submitted for the show. We'll want to see an array of tones -- from high-minded to fun -- represented in the slides, so please don't be bashful about sending in whatever you like.

You can send your materials by email attachment or via Dropbox to core@bu.edu.

With warm regards,
The Core Curriculum

Criticism of ‘Jane Austen, Game Theorist’

Relating to CC202's study of Jane Austen's work is an article from Slate, in which Adelle Waldman gives her amusing criticism of a recent book that discusses Austen's insight into human behavior. Here is an extract:

Austen, it seems, has something to tell us. And not only us English majors. Mathematicians. Game theorists. Serious thinkers. Even Henry Kissinger.

That’s all according to a new book called Jane Austen, Game Theorist, by Michael Chwe, an associate professor of political science at UCLA. According to the Times piece, Chwe watched the movie Clueless, an adaptation of Austen’s Emma, and realized that Austen had some insight into human behavior.
...
But Jane Austen doesn’t need vindication from social science. Or math. Let alone from Henry Kissinger. And these kinds of arguments often flatten both art and science, reducing the insights of each to simple platitudes.
...
I don’t want to judge Chwe’s explication of Austen without having read it. It seems perfectly plausible to me that people who are interested in manipulation and persuasion in the real world could tease out useful lessons from a writer as shrewd as Austen. But what we shouldn’t do is treat Austen’s supposed utility—to serious experts!—as a validation of her art.

Of course the tendency to implicitly deprecate fiction in favor of “harder” writing is nothing new. “There seems,” Austen wrote in Northanger Abbey, “a general wish of decrying the capacity and undervaluing the labor of the novelist, and of slighting performances which have only genius, wit and taste to recommend them.” Now those are prescient words.

For the full article, visit slate.me/ZqjgZk.

An Oddly Modern Antiquarian Bookshop

In an intriguing article for the New York Times, Jody Rosen discusses a fascinating but little-known bookstore called Monkey's Paw, and gives ideas on how such businesses fit into today's literary world. Here is an extract:

“Life-Spark Stories for the Intelligent Young.” Attributed to the author “R. K.,” it tells the story of a “bright little Life-Spark living in the heart of the great Lord-King of the Sun,” who comes down to earth and embarks on a series of adventures. The Life-Spark meets Mother Earth, Nurse Destiny and other deities; it changes form, inhabiting various plants and animals — a pansy, a dog named Gipsie, a little boy.
...
The Monkey’s Paw specializes in oddities like “Life-Spark Stories”: printed matter that has fallen between history’s cracks and eluded even Google Books’ all-seeing eye. There are Victorian etiquette handbooks, antique sex manuals, obscure scientific treatises. There are forgotten 19th-century travelogues with sumptuous chromolithographs and leather-bound correspondence courses on fingerprinting.
...
“This isn’t the store where you’ll find the book you were looking for,” Fowler says. “It’s the store where you’ll find the book you didn’t know you were looking for.”
...
You could also say that the Monkey’s Paw is an idea masquerading as a bookshop. It’s a cross between a retail establishment and a conceptual art installation, which upends traditional book-trade values and views the literary canon through a cracked lens. It’s a bookstore that argues that bookstores are, by definition, Dickensian old curiosity shops. “Most booksellers can’t adjust to the postprint era,” Fowler says. “The only way to sell books in the 21st-century is as artifacts. I’m a 20th-century person myself, but with Monkey’s Paw, I’ve tried to adapt. This place is a church of print. It’s just that the old rules are a bit scrambled.”

For the full article, visit nyti.ms/11B2BzA.

CC106 Information

Below is a list of important topics from lectures since CC106's last exam (not including the April 16th lecture and those after).

Important topics:

Ecology Lectures I and II: Biomes and Physical Ecology: (Prof. Schnieder)
  • Ecology as concept- Biotic vs. abiotic traits of environment- Biome vs. biogeographic region- Levels of biological organization- Physical geography vs. biogeography- Ecological systems (population, community, ecosystem, biosphere)- Conditions conducive to high diversity of life in ecosystem- Reasons for climate variation- Coriolis effect- Hadley cells- Influence of wind on ocean currents and exchange of heat via ocean currents- Influence of topography on climate- Convergent evolution in environmentally similar but geographically separate regions.
  • Traits that form major conditions of terrestrial vs. aquatic biomes- Wallace's line and six biogeographic regions- Relation of continental drift to biogeographic regions- Examples of biotic interchange (Bering land bridge, Panamanian land bride).
Chemical Ecology Lecture: (Prof. Atema)
  • Chemical signals are everywhere in life, inside and outside our and their bodies.
  • Currents are necessary to carry odors over any significant distance; this could vary from millimeters to kilometers.
  • Smell and taste are the two primary sense organs to respond to chemical signals: smell interacts with odors in the free flowing medium (air or water); taste tests the stuff we eat to stimulate appetite and to avoid poisoning ourselves.
  • The molecular receptors for smell and taste can be similar (because both function to interact with chemicals).
  • The anatomy of smell and taste sense organs is very different, including the mouth map of the taste brain and the glomeruli in the smell brain.
Ecology III Lecture: Population Growth: (Prof. Schneider)
  • Definition of a population.
  • BD model of population size: essentially, births increase and deaths decrease population size.
  • Per capita growth rate.
  • Life Table.
  • Life histories determine population growth rates.
  • Populations grow multiplicatively, but limiting resources can cap population growth.
  • Limits to population growth.
  • Carrying capacity.
  • Human population growth.
Reminders:
  • Professor Schneider sent out an email this morning with the Arctic Ice assignment attached. That will be due this coming Monday in your discussions. You may work with a parter on this if you would like. Let me or Nate know if you have any questions regarding this assignment.
  • Nate and Gayle will hold a review for the final but that is a couple weeks away from now. They will send along more information about that when it gets closer.
Interesting Science Article/News:
  • Fish's DNA May Explain How Fins Turned to Feet, New York Times: nyti.ms/Zmpidx

Annual Poetry Reading: Poetry’s Distant Voice

The Core presents a "set of two poems, which are the same poem" as phrased by Zachary Bos, one of the respected speakers at the Annual Poetry Reading this year on April 16th. The theme of the reading was "Poetry's Distant Voice", and here is Zachary Bos' contribution:

From The Book of Hours I, 36

MacDiarmid, Hugh, 1892-1978 (trans.)
Rilke, Rainer Maria, 1875-1926 (orig.) :

What Will God Do?

What would God do if I should die.
I am his jar (if I should break?),
His fountain (if I should run dry?),
I am His consciousness, and make
All that he knows His Own Self by.

I am the sandals he must wear
Or with bare feet crave wearily.
If I should die and go not there
His Heaven would his prison be.

From my barr'n bones his cloak would drop,
His glance that on my cheeks depends,
As a tired head a cushion befriends,
Will founder if old Death extends
Dust for the comfort my life lends
Naught but a void where He may grope!

What will God do if my life ends?

( The Scottish Nation, 8 May 1923)

-----

What Will You Do, God?
Translated by Anita Barrows and Joanna Macy

What will you do, God, when I die?

I am your pitcher (when I shatter?)
I am your drink (when I go bitter?)
I, your garment; I, your craft.
Without me what reason have you?

Without me what house
where intimate words await you?
I, velvet sandal that falls from your foot.
I, cloak dropping from your shoulder.
What will you do, God? It troubles me.

Your gaze, which I welcome now
as it warms my cheek,
will search for me hour after hour
and lie at sunset, spent,
on an empty beach
among unfamiliar stones.
What will you do, God?  I am afraid.

-----

Was wirst du tun, Gott, wenn ich sterbe?

Was wirst du tun, Gott, wenn ich sterbe?
Ich bin dein Krug (wenn ich zerscherbe?)
Ich bin dein Trank (wenn ich verderbe?)
Bin dein Gewand und dein Gewerbe,
mit mir verlierst du deinen Sinn.
Nach mir hast du kein Haus, darin
dich Worte, nah und warm, begrüßen.
Es fällt von deinen müden Füßen
die Samtsandale, die ich bin.
Dein großer Mantel lässt dich los.
Dein Blick, den ich mit meiner Wange
warm, wie mit einem Pfühl, empfange,
wird kommen, wird mich suchen, lange -
und legt beim Sonnenuntergange
sich fremden Steinen in den Schoß.
Was wirst du tun, Gott? Ich bin bange.

Rainer Maria Rilke, 26.9.1899, Berlin-Schmargendorf

The Calliope Project Presents: Hamlet Asylum

"…Not to be.”

Hamlet, his father now only a memory, makes a final, solemn decision. His life cut short in its prime, because he could not face a new reality.

“Who’s there?”

Ophelia, a young girl caught off guard in the middle of the night, is pulled into the darkness. Thrown into a terrible nightmare, she can never escape.

“How now? What noise is that?”

Laertes, a newly wed, discovers his wife in a compromising position. He loses himself in the moment, and does something he will soon regret, but yearn for again.

The three are taken to Denmark for treatment, in the hopes that a heavy hand of psychiatrics can shock them back into normalcy. Unbeknownst to their parents, and the asylum’s caretakers, there may be no hope for our new denizens of madness.

So begins Hamlet Asylum, an altered script of Shakespeare’s seminal play, re-arranged and re-interpreted by director Kellas Cameron to show that little bit of insanity hidden within the psyche of each of us. A visceral, brutal interrogation of the human condition, Hamlet Asylum promises to be unlike anything you’ve ever seen before.

Hamlet Asylum runs May 3, 4, 10, and 11th at 8PM in Green Street Studios Theatre, 185 Green St. Cambridge MA. It is easily accessible from Central Square off the Red Line.

Tickets are being sold online for $12, and will be $15 at the door.

Tickets are currently available online at thecalliopeproject.com/hamletasylum